Embed Size (px)
Citation preview
-
Television Production Fourteenth Edition
GERALD MILLERSON JIM OWENS Asbury College
ELSEVIER
AMSTERDAM. BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS. SAN DIEGO
SAN FRANCISCO. SINGAPORE. SYDNEY. TOKYO
Focal Press is an imprint of Elsevier. I
CONTENTS
ACKNOWLEDGMENTS ............................................................................................................... xix
INTRODUCTION ............................................................................................................................ xxi
PART 1 • The Foundations of Television Production .. CHAPTER 1 An Overview of Television Production ........................................................................................... 3
Television Production .................................................................................................................... 4 Equipment Has Become Simpler to Use ............................................................................... 4 The Illusion of Reality ............................................................................................................... 4 Television versus New Media .................................................................................................. 5
It's Not Just Academic ........................................................................................... ~ ................. 5
Techniques Will Tell ......................................................................... " .......................................... 5
Having the Edge ............................................................. : ........................................................... 5
Overview .......................................................................................................................................... 6
Organization ............................................................................................................................... 6
Television, Video, or Film? ........................................................................................................... 11
Television Organizations ......................................................................................................... 11
The Equipment Is Always Changing .................................................................................... 12
Today's Equipment .................................................................................................................. 13 vii
The Production Team ................................................................................................................... 13
The Hidden Factors of Production ...................................................................................... 14
Review Questions ........................................................................................................................ 15
CHAPTER 2 The People Who Make It Happen ................................................................................................... 17
The Production Crew .................................................................................................................... 17
Talent ............................................................................................................................................... 25
The Freelance Crew .................................................................................................................... 26
Review Questions ....................................................................................................................... 26
CHAPTER 3 The Television Production Facility ................................................................................................ 27
Production Methods ................................................................................................................... 28
The Venue ................................................................................................................................ : ..... 30
The Television Studio ............................................................................................................. 30
Remote Production Facilities ............................................................................................... 35
The Production Switcher ........................................................................................................... 38
The Wipe ................................................................................................................................... 38
Chroma-Key ............................................................................................................................. 38
Synchronized Movements with the Virtual Set ................................................................ 40
Practical Examples ................................................................................................................. 40
Digital Video Effects .............................................................................................................. 40
Review Questions ......................................................................................................................... 41
CHAPTER 4- How Television Works ..................................................................................................................... 43
The Video Signal .......................................................................................................................... 44 Light and Shade ...................................................................................................................... 44
Distributing the Signal ........................................................................................................... 45
Television Standard Compatibility ...................................................................................... 45
The Television Picture ................................................................................................................ 46
Picture Detail ........................................................................................................................... 46
Picture Tones ........................................................................................................................... 46
Review Questions ..................................................... : ................................................................. 47
PART 2 • The Process, Script, and Production Plan CHAPTER 5 The Production Process .................................................................................................................. 51
The Three Stages of Production ............................................................................................... 51
Stage 1: Planning and Preparation .......................................................................................... 52
Why Plan? .............................................................................................................. .' .................. 53
The Idea: Starting with a Concept ...................................................................................... .53
Setting the Goals and Objectives ......................................................................................... 53
The Target Audience ............................................................................................................... 53
The Budget ................................................................................................................................ 55
Limitations/Restrictions ....................................................................................................... .55
The Production Plan .............................................................................................................. 56
Production Methods ............................................................................................................... 57
Schedule ................................................................................................................................... 59
Coverage ............................................................................................... : ................................... 59
Building an Outline ................................................................................................................. 60
Research ................................................................................................................................... 60
Regular Studio Formats ................................................................................ ~ ........................ 61
Complex Productions ............................................................................................................. 62
Treatment Breakdown ........................................................................................................... 62 '.
Developing the Camera Plan ................................................................................................ 62
Storyboards ............................................................................................................................. 63
Production Aspects ................................................................................................................ 63
The Production Meeting ....................................................................................................... 64
Location Surveys (Recce) .................................................................................................... 64
Setup ......................................................................................................................................... 66
The Rehearsal .......................................................................................................................... 66
Stage 2: Production ..................................................................................................................... 67
The Director During the Production .................................................................................... 67
The Producer During the Production .................................................................................. 67
Production Emphasis .............................................................................................................. 67
Selective Tools ......................................................................................................................... 67
Selective Techniques ............................................................................................................. 68
The Screen Transforms Reality ........................................................................................... 68
Interpretative Production Techniques ............................................................................... 68
Stage 3: Postproduction ............................................................................................................ 69
Review Questions ....................................................................................................................... 69
CHAPTER 6 The Script and Production Plan ..................................................................................................... 71
The Script's Purpose ................................................................................................................... 72
The Live Event Production Plan ............................................................................................... 73
The Outline Script: Semiscripted Production .................................................................. 74
Basic Script Layout Formats ............................................................................................... 79
Keep It Brief ............................................................................................................................. 80
Suggestions on Scriptwriting .................................................................................................... 81
Be Visual .................................................................................................................................... 81
Pacing the Program ................................................................................................................. 81
Style ........................................................................................................................................... 82 I
Hints on Developing the Script ............................................................................................ 83
Story boards ............................................................................................................................. 86
Additional Production Plan Information ............................................................................. 91 --
Review Questions ........................................................................................................................ 91
PART 3 • Visualizing the Story CHAPTER 7 What the Camera Can Do ............................................................................................................... 95
Television Cameras ...................................................................................................................... 96
Types of Cameras .......................................................................................................................... 97
Camcorders .............................................................................................................. r. ................ 97
Studio Cameras ....................................................................................................................... 99
Miniature or Point-of-View Cameras ............................................................................... 102
Camera Basics ............................................................................................................................ 102
The Viewfinder ...................................................................................................................... 103
The Camera's Controls ......................................................................................................... 103
The Camera Lens ....................................................................................................................... 105
Lens Systems ........................................................................................................................ 105
Lens Controls ......................................................................................................................... 106 ix
Focal Length .......................................................................................................................... 106
Lens Angle ................................................................................................................................... 107
Normal Lens ........................................................................................................................... 107
Telephoto Lens ...................................................................................................................... 107
Wide-Angle Lens ................................................................................................................... 108
Supplementary Lenses ......................................................................................................... 110
Zoom Lens ................................................................................................................................ 111
Focusing .................................................................................................................................... 114
Exposure .................................................................................................................................. 118
Camera Lens Filters ............................................................................................................. 120
Camera Filter Wheel .............................................................................................................. 121
Video Gain Adjustment .................................... : .................................................................... 121
Shutter Speeds ..................................................................................................................... 122
Supporting the Camera .............. : ........................................................................................ 122
Camera Stabilizers ................................................................................................................. 125
Choosing the Right Camera Mount ................................................................................... 126
Review Questions ..................................................................................................................... 130
CHAPTER 8 Using the Camera ............................................................................................................................ 131
Standard Shots ........................................................................................................................... 131
Selecting the Shot ................................................................................................................. 132
Checking the Shot ................................................................................................................. 132
Camera Operation ...................................................................................................................... 133
Focusing ................................................................................................................................... 133
Camera Moves ....................................................................................................................... 134
Production Format Styles ....................................................................................................... 134
The Single-Camera Shoot ................................................................................................... 135
The Multicamera Shoot ....................................................................................................... 136
Review Questions ...................................................................................................................... 141
CHAPTER 9 The Persuasive Camera ................................................................................................................. 143
Shooting Style ............................................................ : ................................................................ 143
Screen Size ................................................................................................................................. 144
Selecting the Shot ...................................................................................................................... 145
The Extreme Long Shot ...................................................................................................... 146
The Long Shot ....................................................................................................................... 146
Medium Shots ........................................................................................................................ 146.
The Close-Up .......................................................................................................................... 147
The Extreme Close-Up ......................................................................................................... 147
Deep-Focus Techniques ...................................................................................................... 149
Shallow-Focus Techniques ................................................................................................. 149
Moving the Camera Head ......................................................................................................... 149
Panning the Camera ............................................................................................................. 150
Tilting the Camera Head ....................................................................................................... 152
Camera Height ........................................................................................................................ 152
Extreme Camera Angles ....................................................................................................... 153
Moving the Camera ................................................................................. ~ .................................. 153
Subjective Camera Treatment ............................................................................................. 155
Imitative Camera Movement .............................................................................................. 156
Using the Zoom Lens ..................................................................................... ~ ...................... 156
Review Questions ...................................................................................................................... 157
CHAPTER 10 Creating an Effective Image ................. : ........................................................................................ 159
Behind the Picture .................................................................................................................... 160
Composing the Picture ............................................................................................................. 160
Practical Composition ........................................................................................................... 161
The Director and Composition ............................................................................................ 161
Composition Principles ........................................................................................................ 162
The Effect of the Picture Frame ............................................................................................ 162
Framing ................................................................................................................................... 162
Pictorial Balance ................................................................................................................... 164
Unity (Order} .......................................................................................................................... 166
Visual Patterns ...................................................................................................................... 166
Leading Lines .......................................................................................................................... 167
Rule of Thirds .......................................................................................................................... 167
Scale ........................................................................................................................................ 168
Subject Prominence ............................................................................................................. 168
Impressions of the Subject .................................................................................................. 170
Composition and Color .......................................................................................................... 170
Composition and Motion ....................................................................................................... 171
A Theory of Dynamic Composition ..................................................................................... 171
Using Dynamic Composition ............................................................................................... 173
Crossing the Line ................................................................................................................... 173 .,....,1,1
CONTENTS
Continuity ................................................................................................................................ 174
Improving Editing Flexibility ................................................................................................ 175
Review Questions ...................................................................................................................... 176
CHAPTERll Television Graphics .............................................................. : ........................................................... 177
Television Graphic Goals ........................................................................................................... 177
Types of Graphics .................................................................................................................. 178
Forms of Graphics ....................................................................................................................... 179
Animated Graphics ................................................................................................................ 179
Interactive 3D Graphics ........................................................................................................ 179
Designing Graphics ............................................................................. :: ...................................... 179
Backgrounds for Graphics ................................................................................................... 181
Graphic Equipment .................................................................................................................... 182
Review Questions ..................................................................................................................... 183
PART.... • Lighting, Backgrounds, and Sets CHAPTER 12 Lighting for Television ..................................................................................................... t: ............. 187
The Goals of Lighting ................................................................................................................. 188
Why Is Lighting Necessary? .................................................................................................... 188
Technical Reasons ................................................................................................................ 188
Artistic Reasons .................................................................................................................... 189
The Nature of Light ................................................................................................................... 189
Light Intensity ....................................................................................................................... 189
The Color Quality of Light .................................................................................................. 190
Light Dispersion ..................................................................................................................... 191 xi
Spotlights ................................................................................................................................ 193
The Direction of the Light .................................................................................................... 193
Three-Point Lighting ............................................................................................................ 193
General Maxims for Lighting People ................................................................................ 194
Lighting Groups of People ................................................................................................... 195
Lighting Areas of the Scene ................................................................................................ 195
Light Sources ............................................................................................................................... 195
Lighting Instruments .................................................................................................................. 197
Camera Light ........................................................................................................................... 197
Scoop ....................................................................................................................................... 198
Broad Light ............................................................................................................................. 198
Soft Light ................................................................................................................................ 198
Multilamp Sources ................................................................................................................ 199
Open-Face Adjustable Light ............................................................................................. 200
Fresnel Spotlights ............................................................................................................... 200
Reflectors .............................................................................................................................. 200
Light Supports ......... : ................................................................................................................. 202
Grip Clamps ........................................................................................................................... 202
Light Stands .......................................................................................................................... 202
Studio Ceiling Supports ...................................................................................................... 202
Portable Light Kits ............................................................................................................... 203
Controlling the Lights ............................................................................................................... 203
Basic Lighting Plan ................................................................................................................. 205
z
CONTENTS
What Is Going to Happen? ................................................................................................. 205
The Lighting Plot ................................................................................................................. 205
Lamp Care and Safety ........................................................................................................ 206
Lighting and Camera Rehearsal ........................................................................................ 207
Sound Boom Shadows ....................................................................................................... 208
Lighting on Location ............................................ : .............................................................. 208
Review Questions .................................................................................................................... 209
CHAPTER 13 Backgrounds and Sets .................. ~ ................................................................................................ 211
The Influence of the Television Background ....................................................................... 212
Basic Organization .................................................................................................................... 212
The Studio Plan.; .................................................................................................................... 213.
The Floor Plan ........................................................................................................................ 213
Lighting Plot ........................................................................................................................... 213
Design Considerations .......................................................................................................... 213
Set Design for 16:9 .............................................................................................................. 214
Real and Unreal Backgrounds ............................................................................................ 214
The Neutral Background ...................................................................................................... 215
Economical Sets ......................................................................................................................... 215
Semipermanent Sets ............................................................................................................ 216
Pictorial Backgrounds .......................................................................................................... 217
Cyclorama ............................................................................................ ~ .................................. 218
Chroma-Key/Matting ........................................................................................................... 218
Virtual Sets ............................................................................................................................. 219
I
xii Outside/Backlot Sets ................................................................................... :: ..................... 219
The Location As a Background ......................................................................................... 219
Set Components ........................................................................................................................ 222
Set Considerations .................................................................................................................... 223
Camera Height ....................................................................................................................... 223
Foreground Pieces ............................................................................................................... 223
Creating Depth ...................................................................................................................... 223
Versions of "Reality" ........................................................................................................... 224
What Can We Do About the Background? ..................................................................... 224
Rearranging the Background ............................................................................................. 225
Altering the Background ..................................................................................................... 225
Partial Settings ..................................................................................................................... 225
Typical Examples of Partial Settings ............................................................................... 226
Facing Reality ........................................................................................................................ 226
Set Problems ......................................................................................................................... 227
Review Questions ..................................................................................................................... 227
CHAPTER 14 Makeup and Costumes .................................................................................................................. 229
Forms of Makeup ....................................................................................................................... 229
11
I
Straight Makeup .................................................................................................................... 229
Corrective Makeup ............................................................................................................... 230
Character Makeup ............................................................................................................... 230 I
Conditions of Television Makeup ............................................................................................ 230
Camera Rehearsal .................................................................................................................. 231
Makeup Treatment ...................................................................................................................... 231
Principles of Makeup ................................................................................................................ 232
Hair ................................................................................................................................................ 232
Hair Alteration ....................................................................................................................... 232
Costumes (Wardrobe) ............................................................................................................... 232
Review Questions ..................................................................................................................... 234
PART 5 • Recording and Editing the Production CHAPTER 15 Audio for Television ........................................................................................................................ 237
The Audio System ..................................................................................................................... 239
Acoustics .............................................................................................. -.; ..................................... 239
Mono Sound ................................................................................................................................ 241
Stereo Sound .............................................................................................................................. 241
Surround Sound ......................................................................................................................... 241
Microphone Characteristics ................................................................................................... 242
Microphone Care ................................................................................................................... 243
Directional Features of Microphones ..............................................................• r.: ............ 243
Microphone Pickup Methods ............................................................................................ 244
Types of Microphones .............................................................................................................. 245
Camera Microphones ........................................................................................................... 245
Handheld Microphone ......................................................................................................... 246
Shotgun Microphone ........................................................................................................... 247
Lavalier (Lapel or Clip-On) Microphone ......................................................................... 249
Boundary or PZM Microphone ........................................................................................... 251
Hanging Microphone ............................................................................................................. 251 xiii
Surround-Sound Microphone ............................................................................................. 251
Suggestions for Using a Surround-Sound Microphone ............................................... 252
Microphone Stands and Mounts ............................................................................................ 252
Wireless Microphones .......................................................................................................... 253
Hidden Mics ............................................................................................................................ 254
Controlling Dynamics ................................................................................................................ 254
Dynamic Range ..................................................................................................................... 254
Automatic Control for Audio .............................................................................................. 255
Manual Control ...................................................................................................................... 255
Monitoring the Audio ........................................................................................................... 256
The Audio Mixer .................................................................................................................... 257
Using the Audio Mixer ......................................................................................................... 259
Natural Sound ....................................................................................................................... 260
Anticipation ........................................................................................................................... 260
Filtered Sound ....................................................................................................................... 261
Reverberation ........................................................................................................................ 262
Building the Soundtrack .......................................................................................................... 262
Types of Program Sound ..................................................................................................... 262
Program Music ....................................................................................................................... 263
Sound Effects ........................................................................................................................ 263
Anticipating -Sound Editing ................................................................................................ 264
Audio Sweetening ............................................................................................................... 264
Copyright ................................................................................................................................ 265
Review Questions ..................................................................................................................... 265
D
CONTENTS
CHAPTER 16 Recording and Viewing the Program ......................................................................................... 267
Recording the Video .................................................................................................................. 267
Standard-Definition Television ......................................................................................... 268
High-Definition Television ................................................................................................. 268
Videotape ............................................................................................................................... 270
Analog and Digital ................................................ ~ ............................................................... 270
Tape Formats ......................................................................................................................... 270
Flash Memory ........................ : ............................................................................................... 272
Hard Disk Drive /Internal Hard Drive ............................................................................... 273
External Camera Hard Drives ............................................................................................ 273
Hard Disk Recorders ............................................................................................................ 273
Recordable DVD ................................................................................................................... 273
XD Cam Disc ........................................................................................................................... 273
Recording Media Care .......................................................................................................... 273
Video Recording Suggestions ............................................................................................ 275
Viewing the Video ...................................................................................................................... 275
How We See Color ................................................................................................................ 275
How the Camera Sees Color .............................................................................................. 276
Monitors and Receivers ...................................................................................................... 276
Review Questions ..................................................................................................................... 276
CHAPTER 17 Editing the Production ............................................................................... : .................................. 277
Editing Techniques in Television ............................................................................................. 278
Editing Basics ............................................................................................................................. 278
xiv Editing Decisions ........................................................................................... :: ..................... 278
Editing Opportunities .......................................................................................................... 279
The Mechanics of Editing ........................................................................................................ 279
Editing In-Camera ................................................................................................................. 279
Production Switcher (Vision Mixer) ................................................................................. 279
Linear Editing ........................................................................................................................ 280
Nonlinear Editing .................................................................................................................. 281
Postproduction Logging .......................................................................................................... 283
Postproduction Editing Process ........................................................................................... 284
The Art and Techniques of Editing: Multiple Cameras and Postproduction .......... 284
How To Use Transitions ...................................................................................................... 288
Cause-Effect Relationships ............................................................................................. 29q
Montage .................................................................................................................................. 291
Duration of Shots ................................................................................................................. 292
Priority: Video or Sound? .................................................................................................... 292
Good Directing/Editing Techniques ................................................................................. 293
Anticipating Editing ............................................................................................................. 294
Review Questions ..................................................................................................................... 295
PART 6 • Production Techniques CHAPTER 18 Production Practices .................................................................................................................... 299
Production Pressures .............................................................................................................. 299
Shooting Styles ......................................................................................................................... 300
Single-Camera Techniques ..................................................................................................... 300
Single-Camera Setups ........................................................................................................ 300
CONTENTS
Shooting Uncontrolled Action .......................................................................................... 300
Shooting Controlled Action ................................................................................................ 301
Segmented Shooting ........................................................................................................... 303
Multicamera Techniques ......................................................................................................... 304
Visual Variety ........................................................................................................................ 304
Crossing the Axis of Action Line ...................................................................................... 306
Organizing the Angles ........................................................................................................ 308
Program Opening .................................................................................................................. .312
Focusing Audience Attention ............................................................................................. 313
Shifting Visual Interest ................................................................ :.: ...................................... 315
Creating Tension .................................................................................................................... .316
Pace .......................................................................................................................................... 317
Timing ....................................................................................................................................... 317
Visual Clarity ............................................................................................................................... 318
Viewing Angle ........................................................................................................................ 318
Distractions ............................................................................................................ :~ ............. 318
Confusing and Frustrating Subject Treatment ............................................................... 318
The Visual Problem ................................................................................................................ 319
The Illusion of Time ............................................................................................................. 320
Time Lapses .......................................................................................................................... 320
Flashbacks ............................................................................................................................... 321
Cutaway Shots ....................................................................................................................... 321
Reaction Shots/Partials/Cut-In Shots ............................................................................ .321
The Recorded Insert ............................................................................................................ .321 xv
Stock Shots (Library Shots) .............................................................................................. 322
Review Questions ..................................................................................................................... 322
CHAPTER 19 The Studio Production .................................................................................................................. 323
Unrehearsed Formats ............................................................................................................... 323
Advance Rehearsals ................................................................................................................. 324
Studio Rehearsal ................................................................................................................... 324
Rehearsal Procedures ......................................................................................................... 328
The Floor Manager ..................................... , .............................................................................. 330
Rehearsal ................................................................................................................................ 330
Recording/Transmission .................................................... : .................................................. 331
Guiding the Talent .................................................................................................................. 331
Cueing ........................................................................................................................................... 332
Methods of Cueing ............................................................................................................... 332
Prompting the Talent ........................................................................................................... 334
Production Timing ................................................................................................................ 335
Recording the Production ....................................................................................................... 335
Live-on-Tape .......................................................................................................................... 338
Basic Retakes ........................................................................................................................ 338
Shooting Out of Order (By Set) ........................................................................................ 338
Block and Shoot .................................................................................................................... 338
Isolated Camera (ISO) ......................................................................................................... 339
Single-Camera Recording ................................................................................................... 339
Review Questions ..................................................................................................................... 339
CONTENTS
CHAPTER i!O Production Style ............................................................................................................................. 341
Visual Style ................................................................................................................................. 341
Appropriateness .................................................................................................................... 341
Routines ................................................................................................................................. .342
Ambience ................................................................................................................................ 342
The Illusion of Truth .............................................................................................................. 343
Pictorial Function ................................................................................................................. 343
Picture Applications ....... ; ..................................................................................................... 343
Production Rhetoric ............................................................................................................ 344
Audio Style ................................................................................................................................. 344
Imaginative Sound ............................................................................................................... 344
Sound Elements .................................................................................................................... 345
Sound Emphasis .................................................................................................................... 345
Sound Applications ............................................................................................................. 346
Off-Screen Sound ................................................................................................................ 346
Substituted Sound ............................................................................................................... 347
Controlling Sound Treatment ............................................................................................. 347
The Effect of Combining Sounds ...................................................................................... 347
Focusing Attention ............................................................................................................... 347
Selective Sound ................................................................................................................ , .. 348
Audio/Video Relationships ..................................................................................................... 348
Review Questions .................................................................................................................... 348
CHAPTER i!l Remote Production ........................................................................................................................ 349
xvi What Is a Remote Production? .................................................................. :: ........................... 349
Remote Production versus Studio Production .............................................................. 350
Shooting on Location ......................................................................................................... .350
The Single Camera on Location ............................................................................................ .350
Typical Setups ....................................................................................................................... 350
Power Supplies .................................................................................................................... .350
Single-Camera Shooting .......................................................................................................... 352
Handling the Camera ............................................................................................................ 352
Lens Angles ............................................................................................................................ 352
Automatic Controls ............................................................................................................... 354
Audio ........................................................................................................................................ 354
Storing the Gear .................................................................................................................... 354
Multicamera Remote Production ........................................................................................... 354
Multicamera Planning and Preparation ........................................................................... 354
Remote Production Vehicles .................................................................................................. 355
Remote Production Truck/OB Van ................................................................................... 357
Live Transmission ...................................................................................................................... 358
Event Coverage ..................................................................................................................... 358
Sports Action ......................................................................................................................... 358
Review Questions .................................................................................................................... 360
CONTENTS
PART 7 • Engineering CHAPTER22 Basic Video Engineering ............................................................................................................... 363
Behind the Scenes ................................................................................................................... 364
Maintenance/Servicing ...................................................................................................... 364
Camera Setup ....................................................................................................................... 364
Test Equipment ........................................................................................................................... 365
Adjusting Picture Quality .................................................................................................... 365
Review Questions ..................................................................................................................... 369
Glossary ................................................................................................................................... 371
Index ...................................................................................................................................... 383
xvii
Note: Page numbers with f &1 t indicates Figure and Table
A A-I, see Senior audio technician
(A-I) A-2, see Audio assistant (A-2) Academy of Country Music
Awards, 326f Accent light, 194 Accessories checklist, 353t Acoustics
dead surroundings, 241 definition, 237 live surroundings, 241 reflections, 240 sound quality, 239
Action analysis, storyboards, 90 Action line
crossing, 306 definition, 299 picture frame effect, 174 shot examples, 30-8
Actors and chroma-key, 39 NUMB3RS, 25f rehearsal, 527f studio in action, 31 as talent, 25
Actuality appropriate style, 342 definition, 341
AD, see Assistant director (AD) Advance rehearsals
overview, 324 procedures, 328 studio rehearsal, 324
AGC, see Automatic gain control (AGC)
Alias, 157 All My Children, 336t Amanpour, Christiane, 3 Ambience
definition, 341 visual style, 342
American Society of Composers, Authors, and Publishers (AS CAP) , 265
Analog systems, video recording, 270
Anchor show consistency, 26f as talent, 26[, 25
Animated graphics, characteristics, 179
Animation definition, 159 shot composition, 161
Anticipation audio, 260 fully scripted shows, 76 multi camera and
postproduction editing, 294 postproduction editing, 294 sound editing, 261, 264
AP, see Assistant producer (AP) Aperture, and depth of field, 134 Apple Final Cut Pro, 251 Appropriateness, visual style, 341 Arledge, Roone, 4 Artistic timing, 318 ASCAP, see American Society of
Composers, Authors, and Publishers (ASCAP)
Assistant director (AD), responsibilities, 20
Assistant producer (AP), responsibilities, 19
Associate director (AD), responsibilities, 20
Associate producer (AP), responsibilities, 19
Associative music, 263 Atmosphere
lighting plan, 205 music,263 program openings, 312 sound editing, 261
Audience high-angle camera, 223 lighting, 195 production process, 53 scriptwriting basics, 84 and shot selection, 145 wipe effect, 289 zoom in effects, 225
Audience attention composition and motion, 171 focus, 347 focusing, 313t shot duration, 292 sound focusing, 347 video vs. sound, 292 visual clarity, 318
Audience response and camera height, 152 as production factor, 14 and screen size, 144 and shooting style, 143 1V production overview, 11
Audio acoustics, 239 anticipation, 260 audio system, 239 filtered sound, 261 mics, see Microphones
mono sound, 241 multi camera remote
production, 355 natural sound, 260 postproduction, 10 prerehearsal blocking, 31St rehearsal instructions, 327t remote survey checklist, 64 reverberation, 262 room acoustics, 241 script abbreviations, 72t single-camera shooting, 354 soundtrack constru~on, 262 stereo sound, 241 surround sound, 241 in television, 238 video relationship, 348
Audio assistant (A-2) definition, 17 example, 24 responsibilities, 23
Audio cables, repair, 243 Audio engineer, responsibilities,
23 Audio filter, and sound quality, 261 Audio mixer
characteristics and function, 257
control room, 35 definition, 237 faders, 257f field mixer, 257f live events, 258f operation, 259 portable example, 257 responsibilities, 23 surround sound, 258f
Audio plan, creation and implementation, 64
Audio style audience attention, 347 imaginative sound, 344 selective sound, 348 sound combinations, 347 sound elements, 345 sound emphasis, 345 sound treatment control, 347 substituted sound, 347
Audio sweetening definition, 237 soundtrack construction, 264
Audio system automatic control, 255 dynamic range, 239, 254 manual control, 255 monitoring, 256
Audition, see Cue circuit Autofocus, problems, 116
INDEX
383
INDEX
Automatic controls Block and shoot, production fully scripted shows, 75 single-camera shooting, 354 recording, 338 handheld, 123 video engineering, 366 Blur pan, see Whip pan jib arms, 127
Automatic gain control (AGC), BM!, see Broadcast Music, Ine. lens, see Lens systems single-camera shooting, (BMI) lighting plan, 205 354 Bochco, Steven, 81 light intensity, 189
Automatic iris, characteristics, Body brace, camera stabilization, multicamera prerehearsal 119 125 checklist, 139t
Axis of action line Boom mic, camera operator, 133 multicamera remote crossing, 306 Boom operator, mic drift, 133 production, 355 definition, 159,299 Boom pole multicameras, 104 picture frame effect, 174 definition, 27 National Geographic films, 100
B operation, 249 and picture tones, 46 and shotgun mic, 248£ 248 POV, 102
Backcloths, pictorial background, studio in action, 32 production stage, 67 217 Botkin, David, 55 rehearsal instructions, 327t
Backdrops, pictorial background, Bounce light, definition, 194 script abbreviations, 72t 217 Boundary microphone shutter speed, 122
Back focus, zoom lens, 116 characteristics, 251 single cameras, 105, 352 Background example, 251£ speciality, 101
alteration, 225 Brain, Marshall, 43 stabilizers, 125 chroma-key, 218 Breakdown sheet studio, 99 effect, 212 definition, 71 support types, 122 ESPN production, 221£ fully scripted shows, 78 system checklist, 353t improvements, 224 production plan, 91 treatment selection, 139t location as, 219 Bridging, audio sweetening, 264 tripod dolly, 127 neutral, 215 Brightness, and audience tripods, 126 pictorial, 217 attention, 315 TV production overview, 7 program sound, 263 Broadcast Music, Ine. (BMI), 265 types, 97 real and unreal, 214 Broad light, function, 198 video gain adjustment, 121 rearrangements, 225 Broadside, see Broad light viewfinder, 103 reflective surfaces, 221 "B" roll, for editing material, 175 Camera blocking
3811 television graphics, 181 Bruckheimer, Jerry, 51 definition, 323 visual clarity, 319 Budget, production process, 55 goal, 326
Background light C
rehearsal procedures, 328 definition, 194 Camera cards, fully scripted lamp setting, 206t Cable camera, operation, 129 shows, 78
Background music Cables Camera control unit (CCU) audio style, 347 audio safety, 258 control room, 34 program sound, 263 system checklist, 353t definition, 27
Back light Camcorders multicameras, 104 lamp setting, 206 characteristics, 97 remote iris control, 120 lighting, 194 Guiding Light case study, 98 video engineering, 364
Backlot set, characteristics, 219 National Geographic films, Camera handling
f;!1
Balance, pictorial balance, 164 100 telephoto lens, 108 Banks, multilamps, 199 styles, 98 wide-angle lens, 110
il Bar graphs, audio control, 256£ Cameo, neutral background, 215 zoom lens, 112 256 Camera angles Camera head
Barn doors picture frame effect, 173 camera height, 152 definition, 187 shooting techniques, 308, 311f extreme angles, 153
I!
light control, 203 Camera assistant, responsibilities, follow pan, 151 Barrels, light supports, 202 22 interrupted pan, 152 Bars, light supports, 202 Camera basics moving, 149
I, Base, location surveys, 64 cable/sky/flying, 129 panning, 150 I' I'
Base lighting, definition, 188, 194 camcorders,97 survey pan, 151 Batten, light supports, 202 camcorder styles, 98 tilting, 152 Batteries camera sensing, 276 whip pan, 152
care, 352 choosing, 102 Camera height single camera on location, 350 control room, 34 camera head movement, 152 wireless mics, 253, 254f controls, 103 set considerations, 223
Baxter, Dennis, 238 convertible, 99 Camera light Big Bang Theory, 336t cranes, 127 definition, 194 Black level dollies, 129 function, 197
definition, 363 features, 102 Camera locations video operator, 367 field checklist, 135 production process, 63
Blocking, prerehearsal, 329t filter wheel, 121 remote survey checklist, 64
Cameraman, responsibilities, 22 Camera microphones,
characteristics, 245 Camera movement
and attention, 315f imitative, 156 moving close-up, 155 overview, 153 subjective, 155 zooming, 156
Camera operation focusing, 133 moves, 134
Camera operator boom mic, 133 multicameras, 104, 137 POV camera, 102 during production, 139 production format styles, 134 and production techniques,
140 responsibilities, 22 shot sheet, 9lf, 138
Camera plan, development, 62 Camera position, in composition,
161 Camera rehearsal
lighting plan, 207 makeup practices, 231
Camera script definition, 71 details, 81 fully scripted shows, 76, 77t
Camera setup definition, 363 video engineering, 364
Camera shake, shooting faults, 175t
Camera viewpoint, production stage, 68
Canadian Broadcasting Corporation (CBe), 212
Canon camcorders, Guiding Light, 98
Canted shot, see Dutch . Canvas drops, pictorial
background, 217 Capstan control, definition, 115f Cardioid microphones
advantages, 243, 244 example, 244f
Case studies (cameras) Guiding Light, 98 National Geographic films,
100 Catch light, definition, 194 Cathode ray tube (CRT), video
viewing, 275 Cause-effect relationships,
postproduction editing, 290
CBC, see Canadian Broadcasting Corporation (CBe)
CBS Sunday Morning News, 54 CCD, see Charge-coupled device
(CCD)
CCu, see Camera control unit (CCU)
CDs, see Compact disks (CDs) Center of attention, production
techniques, 68 Center line, crossing, 306 Character generator (CG)
definition, 177 TV graphics, 179
Character introduction, as program opening, 312
Character makeup definition, 229 purpose, 231
Charge-coupled device (CCD) definition, 43 video signal, 85
Chroma-key characteristics, 38 definition, 27, 211 studio plan, 218
Ciddor, Andy, 131 Clapboard, see Slate Clip
definition, 277 nonlinear editing, 281, 282
Clip-on microphone, see Lavalier microphone
Clock cues, method, 332 Close-up (CU)
and background crowd, 225 definition, 131 example, 132 moving CU, 155 shot selection, 147
CMOS, see Complementary metal-oxide semiconductor sensor (CMOS)
Color picture frame, 170 video camera, 276 video engineering, 367 video signal, 44 video viewing, 275
Color balance, video operator, 367 Colorbars
camera setup, 364 color balance, 367 definition, 363 vectorscope, 365
Color temperature definition, 189 in lighting, 190 shooting faults, 175t
Combination shot, definition, 145
Comedy, production methods, 29 Communications, remote survey
checklist, 64 Compact disks (CDs), audio
mixer operation, 259 Compact VHS tape (VHS-e),
video recording, 271 Complementary metal-oxide
semiconductor sensor (CMOS)
definition, 43 video signal, 85
Composition definition, 159 and director, 161 dynamic, 171, 173 and motion, 171 nonlinear editing, 282 overview, 160 picture frame, 170 practical, 161 principles, 162 production stage, 68 shot; 161 shot checking, 133
Compression, video, 145 Computer calculators, focal
length decisions, 107 Concept
production process, 53 and scriptwriting, 85 TV graphics, 178 "
Condenser microphone definition, 237 pickup methods, 244
Consumer equipment automatic camera iris, 119 as category, 13
Content, TV graphics, 178 Context
definition, 159 shot composition, 161
Continuity audio sweetening, 264 definition, 159 dynamic composition, 173 editing example, 302 editing preparation, 174 sound editing, 261 sound editing anticipation,
264 Continuity errors, postproduction
editing, 288 Contrast control light, definition,
194 Control room
definition, 27 as nerve center, 33 portable flypack, 37
Controls camera basics, 103 zoom lens, 111
Convertible camera configurations, 99 definition, 95
Cook, Barry, 71 Cookies, light control, 205 Coordination meetings
definition, 349 multicamera remote
production, 355 Copyright, soundtrack
construction, 265 Corbascio, Sabastian, 80 Corrective filters, characteristics,
120
INDEX
385
INDEX
Corrective makeup neutral background, 215 background improvements, definition, 229 studio plan, 213 224 purpose, 230
D camera operator tasks, 140
Costume and chroma-key, 39 practices, 232 Day exteriors, lighting, 208 and composition, 161 problems, 233t Day interiors, lighting, 208 composition and motion, 171 TV production overview, 9 Dead surroundings control room, 33
Costume designer, responsiblities, acoustics, 240 definition, 17 21 room acoustics, 241 editing, 280f
Coverage, production planning, Decor, multicamera effective studio rehearsal, 325t 59 shooting, 306 focal length decisions, 107
Cover shots Deep-focus organization basics, 6 editing flexibility, 174 definition, 143 planned production approach, postproduction editing, 294 shot selection, 149 58 recording productions, 339 Delivery, and pace, 318 planning, 7
Crab, camera treatment selection, Depth postproduction editing, 284 139t set considerations, 223 production process, 51
Cranes, camera mounts, 127 telephoto lens, 108 production stage, 67 Crash start Depth of field production techniques, 140
definition, 299 dealing with, 134 rehearsal instructions, 325 as program opening, 312 focusing, 116 responsibilities, 20
Crawl Diagonal movement, dynamic role in production crew, 17 graphics design, 181 composition, 173 script's purpose, 72, 78 TV graphics, 182 Dialogue scriptwriting, 81
Credits fully scripted shows, 75 set creation realities, 226 definition; 177 program sound, 263 sitcom shots, 67£ 285 graphics types, 179 and scriptwriting, 85 staging plan, 212
Cross-back light, definition, 194 Dichroic filters storyboarding, 86 Cross-fade, transition use definition, 43 story coverage, 308
scenarios, 289 video signal, 44 studio in action, 31 Crowd, camera positioning, 225 Diffuser target audience, 54 CRT, video viewing, 275 definition, 187 technique differences, 5
386 Crush out, and exposure, 118 light control, 205 transition choices, 285 CS!,336t Diffusion disks, characteristics, unplanned production CD, see Close-up (CD) 120 approach, 57 Cue card DigiBeta, video recording, 271 visual clarity, 318
definition, 323 Digital 8, video recording, 271 visual clarity solutions, 320 talent prompting, 334 Digital processing, sound effects, Dirty Jobs, 102
Cue circuit, audio mixers, 258 263 Display Cues Digital single-lens reflex (DSLR), appropriate style, 341
floor manager, 335f 8f definition, 341 lighting plan, 205 Digital systems, video recording, Dissolve methods, 332 270 definition, 277 overview, 332 Digital video effect (DVE) example, 287 production timing, 334 definition, 3, 27 time lapse indication, 321 script abbreviations, 72t image sources, 8 as transition, 38 talent prompts, 334 and switch er, 40 transition choices, 286
Cut Dimmer board, light control, 203 , transition use scenarios, 289 continuity example, 302 Direct control, zoom lens, 111 Distortion, wide-angle lens, 108 definition, 277 Directing Distractions, and visual clarity, 318 example, 287 ethics, 295 Documentaries postproduction editing, 285 good techniques, 293 "illusion of truth," 343 as transition, 38 Direction, dynamic composition, research process, 60 transition choices, 278 172 script's purpose, 72 transition use scenarios, 288 Directional microphone Dolby® Pro Logic II encoder,
Cutaway shot advantages, 243 surround-sound mic, 251f definition, 159,299 definition, 237 Dolly for editing material, 175 directionality, 242 camera, 31 time lapse indication, 321 example, 244f camera mounts, 129 uses, 321 Direction of movement, dynamic camera treatment selection, 139t
Cut-in shots, uses, 321 composition, 173 studio cameras, 100 Cyc light, characteristics, ~ 19 9 Direct lighting, see Incident light tripod, 127 Cyclorama (eyc) Director vs. zoom, 112
characteristics, 218 advance rehearsals, 324 Dominant figure definition, 211 appropriate visuals, 319 and audience attention, 315 example, 219 audience focusing, 313 example, 315f
Douglas, Brian, 268 Draft script
fully scripted shows, 75 script development, 83
Drama projects control room, 35 focusing methods, 115 planned production process,
58 prerehearsal, 324 production methods, 29 and reality, 68 recording methods, 336t research process, 60 script, preparation, 80 semipermanent sets, 216, 217 storyboard examples, 88 treatment, 342
Dressing rooms, definition, 35 Dress rehearsal
definition, 323 goal, 326
Dry blocking definition, 323 goal, 326
DSLR, see Digital Single-lens reflex (DSLR)
D-9 tape, video recording, 271 Dubbing session, see Audio
sweetening Duct tape, handheld mic, 246 Dutch
definition, 143 example, 157
DVCProHD, video recording, 272 DVCPro25/50 tape, video
recording, 272 DVDs
recordable, 273, 274 target audience, 54
DVE, see Digital video effect (DVE)
Dynamic adjustments, multicameras, 104
Dynamic composition . application, 173
basic theory, 171 direction and speed, 172
Dynamic microphone definition, 237 pickup methods, 244
Dynamic range
E
audio system, 239, 254 definition, 237
Earset microphone example, 250 lavas, 249
Eavesdropping start, as program opening, 312
Economical sets, development, 215
ECU, see Extreme dose-up (ECU/XCU)
Edge light, definition, 194
Editing anticipation, 294 cause-effect relationships, 290 continuity errors, 288 cut choices, 285 decisions, 278 ethics, 295 flexibility, 174 forms, 9 good techniques, 293 image preparation, 174 in-camera, 279 linear, see Linear editing logging, 283 mechanics, 279 montage, 291 nonlinear, see Nonlinear
editing opportunities, 279 scriptwriting after, 84 shot continuity example, 302 shot duration, 292 shot order, 285 shot selection, 284 special effects, 286 switcher, 279 techniques, 278, 284 transition choices, 286 transition use scenarios, 288
Editor example, 25 responsibilities, 25, 283
Effective images and camera angles, 173 composition, 160, 162 composition and color, 170 composition and director, 161 composition and motion, 171 continuity, 174 contributing factors, 160 dynamic composition, 171, 173 editing flexibility, 174 editing preparation, 174 framing, 162, 163 framing people, 164 leading lines, 167 pictorial balance, 164 practical composition, 161 rule of thirds, 167 scale, 168 shooting faults, 175t shot composition, 161 subject impressions, 170 subject prominence, 168 unity,166 visual patterns, 166
Effects, see also Special effects audio style, 345, 347 lighting plan, 205
Effects/pattern projectors, usage, 193
Effort, via dynamic composition, 171
EFP, see Electronic field production (EFP) camera
Egg-crate shields, 193f
EIG, see Engineer-in-charge (EIC) Electricians, responsibilities, 24 Electronic field production (EFP)
camera characteristics, 99 definition, 95 purpose, 98 support, 123 zoom lens, 111
Electronic news gathering (ENG) camcorders
definition, 95 purpose, 98 support; 123 viewfinder, 136f zoom lens, 111
Ellipsoidal spot, vs. fresnel, 200 ELS, see Extreme long shot
(ELS/XLS) End titles
definition, 177 graphics types, 179 ..
ENG, see Electronic news gathering (ENG) camcorders
Engineer-in-charge (EIC) definition, 17 responsibilities, 24
Engineering crew, hiring, 63 Environmental effects, program
sound, 263 Environmental music, 263 Environments, simulated,
appropriate style, 341 Equalizer, filtered sound, 261 Equipment
consumer, 13, 119 current, 13 fully scripted shows, 75 improvements, 12 nonlinear editing, 282 production process, 64 professional, 13 prosumer, 3,13 script abbreviations, 72t TV graphics, 182 TV production overview, 4 video engineering, 365
ESPN, set background, 221£ Establishing shots
editing flexibility, 174 program opening, 312
Ethics, directing and editing, 295 Event coverage, live transmission,
358 Everybody Loves Raymond, 19 Executive producer,
responsibilities, 19 Experience, focal length decisions,
107 Exposure
correct, 118 video engineering, 367
Extender lens, characteristics, 114 "Extend time," 286 Exterior shots, lighting, 208
INDEX
INDEX
388
External camera hard drive example, 274 video recording, 273
External reflector spot, see Openface adjustable light
Extreme camera angle, effect, 153 Extreme close-up (ECU/XCU)
definition, 131 example, 132 shot selection, 147
Extreme Home Makeover, 252f Extreme long shot (ELS/XLS)
definition, 131 example, 132 program opening, 312 shot selection, 146
Eye-level shot definition, 143 purpose, 152
Eye light, definition, 194 Eye line
F
crossing, 306 definition, 299 picture frame effect, 174
Fact sheet definition, 71 production plan, 91
Fade definition, 277 example, 287 as transition, 38 transition choices, 286 transition use scenarios, 288
Fade-in, transition use scenarios, 288
Fade-out time lapse indication, 321 transition use scenarios, 288
Faders, audio mixer, 257f, 257 Fantasia, 241 Fantini, Marc, 238 Fast motion, definition, 286 Field mixer, definition, 17 Fill light
lamp setting, 206t lighting, 194
Film, definition, 11 Filmic space
definition, 299 example, 321
Filmic time definition, 299 example, 321
Filtered sound, effectiveness, 261 Filters
camera lens, 120 definition, 187 light color, 191f light control, 204 multicamera prerehearsal
checklist, 139t types, 120
Filter wheel, characteristics, 121 Final Cut Pro (Apple), 251
Finestra, Carmen, 83 Fishpole, see Boom pole Fixation point, via dynamic
composition, 172 Flags, light control, 204 Flash, TV graphics, 182 Flashbacks, purpose, 321 Flash memory . example, 272f
video recording, 272 Flats
creation, 215 definition, 27, 211 example, 222 semipermanent sets, 217 studio in action, 31
Flip, TV graphics, 182 Flood light, see also Soft light
bank 199 creation and usage, 191 definition, 187
Floor blocking, rehearsal procedures, 330
Floor crew, responsibilities, 23 Floor manager (FM)
recording/transmission, 330 rehearsal, 330 rehearsal instructions, 327t responsibilities, 21, 330 signals/cues, 335f and talent, 331
Floor plan, definition, 211, 213 Floor treatment, as set
component, 222 Fluorescent tubes; lighting, 196 Flying camera, operation, 129 Flypacks, function, 37 FM, see Floor manager (FM) Focal length
affected factors, 106 definition, 95 and image size, 106 working practices, 107
Focusing approach, 133 audience attention, 313t autofocus problems, 116 basics, 114 depth of field, 116, 134 f-stop, 118 lens aperture, 117 lens control, 106 methods, 114 purpose, 114 zoom lens, 116
Focus puller definition, 95 dramatic projects, 115 and follow focus device, 104 responsibilities, 23
Focus ring, for focusing, 114 Foley
definition, 237 as sound effects, 263
Follow focus device definition, 95
example, 115f and focus puller, 104
Follow pan, camera head movement, 151
Follow spots, usage, 193 Foreground music, program
sound,263 Foreground pieces, set
considerations, 223 Formal presentations, appropriate
style, 341 Formal start, as program opening,
312 Formats
studio, regular, 61 unrehearsed, 323
Foundation light, definition, 194
Frame, see Picture frame effect Frame sync
definition, 363 video signal sync, 368
Framing in composition, 161 people, 164 picture frame effect, 162
Freelance crew definition, 17 purpose, 26
Freeze frame, definition, 286 Frequency, TV picture detail, 46 Fresnel spotlights, function, 200 f-stop
deep-focus techni·ques, 149 definition, 131 and depth of field, 134 and focusing, 117, 118 lens control, 106 light intensity, 189
Fully scripted shows camera instructions, 75 camera script, 76 dialogue, 75 equipment, 75
G
full script, 76 initial script, 75 rehearsal script, 75 scenes, 74 shooting styles, 300 shots, 75 sources, 75 switcher,75
Gaffer tape, handheld mic, 246 Gallery, see Control room Gamma
definition, 363 video operator, 367
Gear, single-camera shooting, 354
Gels, see Filters Genlock
definition, 363 video signal sync, 368
Gestures, in medium shots, 146
INDEX
Glidecam system, camera Headings, program outline, 60 Incident light stabilization, 125 Head-on shot, postproduction definition, 187
Goals editing, 294 measurement, 190 definition, 51 Headroom Inexperienced talent, floor lighting, 188 definition, 159 manager guidance, 331 production process, 53 shooting faults, 175t Informal presentations, television graphics, 177 Headworn microphone appropriate style, 341
Gobos, light control, 205 example, 250 Information, TV graphics, 177 Goldsmith, Jerry, 237 lavas, 249 Instant replay inserts, recording Goldstein, Martin, 159 Henson, Jim, 301 productions, 339 Graduated filters, characteristics, 121 Hi8, video recording, 271 Instrument performances Graphic plan, design and Hickman, Ronald, 52 lav mics, 250
implementation, 64 Hidden microphone, regular studio formats, 61 Graphics, see Television graphics characteristics, 254 Interactive 3D graphics, Graphics artist, responsibilities, 21 High-angle shots characteristics, 179 Graphics designer, definition, 143 Intercom
responsibilities, 21 purpose, 152 definition, 27 Graphics operator, High-definition television effective studio rehearsal,
responsibilities, 21 (HDTV) 325t Gravity, via dynamic composition, definition, 267 multicamera prerehearsal
171 flash memory, 272 checklist, 139t Green room, definition, 35 graphics design, 179 studio in action, 31 "" Grip clamps, function, 202 makeup for, 232 Intercom cues, method, 332 Grips, responsibilities, 23 set design for, 214 Interior shots, lighting, 208 Ground plan, definition, 213 video recording, 268 Interlaced scanning Grouping, multicamera shooting, Highly directional microphone, definition, 43, 267
305 example, 244f HDTV,268 Guercio, Leonard, 267 Hitchcock, Alfred, 342 video recording, 268 Guests HMI lights, 196f, 195 Internal hard drive, video
outline script, 74 Hoge, Merril, 180 recording, 273 and shooting style, 143 Horizons, sloping, 175t Internet, shooting for, 145 as talent, 26 Horizontal movements, Interrupted pan, camera head
Guiding Light, 98 definition, 41 movement, 152 389 Horizontal sports, characteristics, Interviews
H 359 production methods, 28 Hair, makeup practices, 232 Hosts, outline script, 74 regular studio formats, 61 ' ,
I
Hair light, definition, 194 Hue, video signal, 44 research process, 60 Hand cues, method, 332 Hurwitz, Matt, 238 shooting techniques, 310 Handheld camera Hutchens, Jeff, 95 shot examples, 60f
characteristics, 99 Hyper-cardioid microphone iPod-type devices, 55 support, 123 advantages, 244 Iris techniques, 124 characteristics, 247 automatic, 119
Handheld microphone manual,120 :1 characteristics, 246 I remote control, 120
example, 246 Identifying music, 263 ISO, see Isolated camera (ISO)
I Hand properties (props) "Illusion of truth," visual style, 343 Isolated camera (ISO)
definition, 211 Illusions, set creation realities, 227 definition, 323 example, 222f Image magnification (I-mag) production recording, 338 prerehearsal blocking, 329t definition, 51, 131 recording methods, 336t as set components, 223 example, 132
J Hanging microphone shot selection, 132 characteristics, 251 and target audience, 54 Jib arms example, 251f Images, see also Effective images; camera mounts, 127
Hanging units, as set component, Symbolism high-angle camera, 223 222 function, 343 Joubert, Beverly, 100
Hard camera, characteristics, 99 size and focal length, 106 Joubert, Dereck, 100 Hard disk drive (HOD) sources, 8, 85 Jump cut
example, 8f, 274 style purposes, 343 editing techniques, 293 video recording, 273 video engineering, 365 multi camera shooting, 307
Hard drive recorders, video Imitative camera movement, picture frame effect, 174 recording, 273 effect, 156
Haze filters, see UV filters Imitative music, 263 K HOD, see Hard disk drive (HOD) Impressions, subject, 170 Keying color, chroma-key, 218 HDV tape, video recording, 271 In-camera editing, overview, 279 Keylight Head (run-in), postproduction Incandescent lamp, see Tungsten lamp setting, 206t
editing, 294 lamp lighting, 194
INDEX
390
Kickerlight, definition, 194 The King of Queens, 328f
L Lamps
care and safety, 206 setting techniques, 206t surface reflections, 221
Lapel microphone, see Lavalier microphone
Laptops, linear editing systems, 280
Late Night with Conan O'Brien, 336t
Late Show with David Letterman, 336t
Lavalier microphone characteristics, 249 example, 250, 26lf musical instruments, 250 wireless mic example, 254f
LCD screens camera viewfinder, 103 video viewing, 275
Leading lines, picture frame, 167
LED lights, lighting, 196 Lens angle
in composition, 161 normal lens, 107 single-camera shooting, 353 telephoto lens, 107 wide-angle lens, 108
Lens aperture and focusing, 117 video operator, 367
Lensless spotlight, see Open-face adjustable light
Lens systems automatic iris, 119 camera plan, 62 care, 110 characteristics, 110t control, 106 exposure, 118 field checklist, BSt focal length, 106 focal length and image size,
106 focusing, 114 manual iris adjustment, 120 multicamera prerehearsal
checklist, 139t prime, 105 remote iris control, 120 supplementary; 110 zoom, 105, 111
Lettering graphics design, 179 IV graphics, 182
Letterman, David, 336t Level continuity, sound editing
anticipation, 264 LFE, see Low-frequency effects
(LFE) Library shots, visual darity, 323
Light color quality, 190 direction, 189, 193 dispersion, 189, 191 intensity, 189 shot checking, 133 source types, 195 video signal, 44
Light filters, light control, 204 Lighting
artistic reasons, 188 background improvements,
224 broad light, 198 camera light, 197 control, 203 cues, 205-fresnel spotlights, 200 goals, 188 groups of people, 195 light color .quality, 190 light direction, 193 light dispersion, 191 light intensity, 189 light sources, 195 multilamp sources, 199 open-face adjustable light, 200 people, 194 prerehearsal blocking, 329t reflectors, 200 remote survey checklist, 64 scene areas, 195 scoop, 198 shooting faults, 175t soft light, 198 spotlights, 193 technical reasons, 188 terminology, 194 three-point, 193 time lapse indication, 321 IV production overview, 9 visual darity, 318
Lighting director, responsibilities, 22
Lighting plan basic questions, 205 camera rehearsal, 207 lamp care and safety, 206 on location, 208 sound boom shadows, 208
Lighting plot creation, 205 definition, 187
Light stands, function, 202 Light supports
grip damps, 202 light stands, 202 portable light kits, 203 studio ceiling supports, 202
Limbo, neutral background, 215 Limitations, production process, 55 Linear editing
definition, 3, 277 example, 280 laptop systems, 280 mechanics, 280
Linear tape editing, definition, 9 Line level
definition, 237 vs. miclevel, 259
Line producer, responsibilities, 21 Lines
leading lines, 167 visual patterns, 166
Line-up process, video engineering, 365
Liquid crystal diode (LeD) camera viewfinder, 103 video viewing, 275
Live editing, definition, 9 Live event
audio mixer, 258f multicamera shooting, 309 production plan drama script, 80 script layout formats, 79 production plan, fully scripted
shows camera instructions, 75 camera script, 76 dialogue, 75 equipment, 75 full script, 76 initial script, 75 rehearsal script, 75 scenes, 74 shots, 75 sources, 75 switcher,75
Live surroundings acoustics, 239, 240 room acoustics, 241 shotgun mic, 247
Live on tape method, 336t recording, 335
Live transmission event coverage, 358 sports action, 358
Locations as background, 219 production process, 63
Location surveys, during planning, 64
Logging definition, 277 log sheet example, 283 postproduction, 283
Logistics, remote survey checklist, 64
Long shot (LS) and costumes, 233 definition, 131 example, 132 postproduction editing, 294 program opening, 312 shot selection, 146
Look Bradley M., 229 "Lose time," 286 Low-angle shots
definition, 143 purpose, 153
L
Low-frequency effects (LFE), surround sound, 241, 251
15, see Long shot (LS)
M Maar, Joseph, 17 Maintenance, video engineering,
364 Maintenance engineer,
responsibilities, 24 Makeup
conditions, 231 forms, 229 hair, 232 for HDTV, 232 principles, 232 treatment, 231 TV production overview, 9
Makeup artists, responsiblities, 21
Makeup rooms, definition, 35 Makeup supervisor,
responsiblities, 21 Mandler, Rick, 9 Manual control, video
engineering, 366 Manual mode, single-camera
shooting, 354 Master shot, editing flexibility,
174 Matting, studio plan, 218 McKenney, Thomas, 187 Medium shot (MS)
and background crowd, 225 definition, 131 example, 132 postproduction editing, 294 shot selection, 146
Mic boom, example, 248f Mic level
definition, 237 vs. line level, 259
Microphones boundary mic, 251 camera mic, 245 care, 243 characteristics, 242 directional features, 243 handheld mic, 246 hanging mic, 251 hidden mic, 254 lavalier mic, 249 mic vs. line level, 259 pickup methods, 244 production stage, 67 PZM mic, 251 shotgun mic, 247, 248 stands and mounts, 252, 253 studio in action, 32 surround-sound mic, 251 types, 245 wireless mic, 253
Millerson, Gerald, 211 Miniature cameras, usage, 102 MiniDV, video recording, 271 Mink, Don, 27
Mirror, definition, 286 MLB Baseball, 336t Modeling light, definition, 194 Modular set units
construction, 215 definition, 211 example, 216
Monaural sound characteristics, 241 definition, 237
Monitors cue method, 332 video viewing, 276
Monitor wall, control room, 33 Monopod, camera stabilization,
125 Montage, postproduction editing,
291 Mood
program openings, 312 TV graphics, 177
Morrison, Janet, 98 Mosaic, definition, 286 Motion
and audience attention, 315 and composition, 171
Moving dose-up, characteristics, 155
MS, see Medium shot (MS) MTV, target audience, 54 Multicamera productions
anticipating editing, 294 camera basics, 104 camera operator, 13 7 characteristics, 13 6 editing, 278f recording methods, 336t shot selection, 284
Multicamera remote production overview, 354 planning and preparation,
355 Multicamera shooting script,
sample,80t Multicamera techniques
audience attention focusing, 313
axis of action line, 306 decor variations, 306 grouping changes, 305 overview, 304 pace, 317 performer movement, 304 program openings, 312 static subjects, 305 and story coverage, 308 tension creation, 316 timing, 318 visual interest shifting, 315 visual variety, 304
Multi-image montage, postproduction editing, 291
Multilamp sources, operation, 199
Music, audio style, 345
Music and dance control room, 35 production methods, 29
My Name Is Earl, 336t
N Narratives, script's purpose, 72 Narrow-angle lens, see Telephoto
lens National Geographic films,
camera case study, 100 National Television System
Committee (NTSC) definition, 43 as TV standard, 268 TV standard compatibility, 45
Natural lighting, background improvements, 224
Natural sound characteristics, 260 editing, 261
ND, see Neutral density (ND) filters Neutral background, creation, 215 Neutral density (ND) filters,
characteristics, 120 New media, vs. television, 5 News, research process, 60 Newscasts
production methods, 28 and reality, 68 regular studio formats, 61
News station, chroma-key background, 218
NFL Football, 336t NHKNetwork
surroundsound,242 ultra HDTV, 269
Nienaber, John, 299 Night exteriors, lighting, 208 Night interiors, lighting, 208 N onlinear editing
composition page, 282 definition, 3, 10,277 equipment, 282 example, 278f process, 281 special effects, 286 voiceovers, 282f
Normal lens characteristics, 110t lens angle, 107
Notes, talent prompting, 334 NTSC, see National Television
System Committee (NTSC) NUMB3RS, 25
o Objectives
definition, 51 production process, 53
O'Brien, Conan, 334f, 336t Obtrusive, camera techniques, 69 OB van, see Outside broadcasting
(OB) van Off-camera voices, program
sound,263
INDEX
The Office, 153 Partial settings video engineering, 365 Off-screen sound, audio style, 346 examples, 226 vision control, 365 Omnidirectional microphone set considerations, 225 Pitt, Brad, 334f
advantages, 243, 244 Partial shots, uses, 321 Pizzuro, Chris, 3 definition, 238 pCAM software, 107 Planned production approach, example, 244f P2 card, example, 272f overview, 58
On location Pedestals (ped), as camera mount, Planning and preparation stage, microphones, 253f 127 production process remote production, 350 People budget, 55 single camera, 350 framing, 164 camera plan, 62
Open-air sound, acoustics, 240 group lighting, 195 complex, 62 Open-bulb spot, see Open-face lighting, 194 coverage, 59
adjustable light Perambulator goals and objectives, 53 Open-face adjustable light, definition, 238 limitations/restrictions, 55
function, 200 shotgun mic, 247 multicamera remote Opening titles Performers production, 355
definition, 177 movement, multicamera outline, 60 graphics types, 179 shooting, 304 overview, 52
Open set, creation, 215 prerehearsal blocking, 329t planned, 58 Orchestra, lighting, 195 as talent, 25 production aspects, 63 Order, see Unity Persuasive camera production plan, 56 Original sounds, as effects, 263 camera head movement, 149 purpose, 53 Outlines camera movement, 153 regular studio formats, 61
graphics design, 179 screen size, 144 rehearsal, 66 production planning, 60 shooting style, 143 research, 60 and scripting, 85 shot selection, 145 schedule, 59 script's purpose, 72 Phase alternating line (PAL) setup, 66 TV graphics, 182 definition, 43 starting concept, 53
Outline script as TV standard, 268 storyboards, 63 definition, 71 TV standard compatibility, 45 target audience, 53 fully scripted shows, 75 Photo blow-ups, pictorial treatment breakdown, 62
Outside broadcasting (OB) van background, 217 unplanned, 57
392 characteristics, 357 Photographer, responsibilities, 22 Plasma screens definition, 27 Photographic enlargements, example, 275f
Outside broadcast (OB), see pictorial background, 217 video viewing, 275 Remote production Photographic lighting, see Three- Platforms, as set component, 222
Outside set, characteristics( point lighting Point-of-view (POV) camera 219 Photomurals, pictorial definition, 95
Overdubbing, audio sweetening, background, 217 usage, 102 264 Piano performances, regular Polarizing filters, characteristics,
studio formats, 61 121 P Pictorial background, Poltrack, David, 12 PA, see Production assistant (PA) characteristics, 217 Portable flypack control rooms, Paar, Morgan, 177 Pictorial balance, picture frame, function, 37 Pace 164 Portable light kits, function, 203
definition, 299 Picture frame effect Portable soft light, function, 198 scriptwriting; 81, 86 audience confusion, 173 Position, script abbreviations, 72t shooting techniques, 317 and camera angles, 173 Posterizing, definition, 286
Painted cloths, pictorial composition and color, 170 Postproduction background, 217 dynamic composition, 171, audio, 10
PAL, see Phase alternating line 173 definition, 51, 277 (PAL) effect, 162 logging, 283
Pan, camera treatment selection, framing, 162 as production stage, 69 139t framing people, 164 Postproduction audio
Panasonic P2 HD camcorders, leading lines, 167 TV production overview, 9 100 pictorial balance, 164 types, 262
Panel discussion, regular studio rule of thirds, 167 Postproduction editing formats, 61 scale, 168 anticipation, 294
Pan head subject impreSSions, 170 cause-effect relationships, camera stabilizers, 125 subject prominence, 168 290 parts, 126f unity, 166 continuity errors, 288
Pan shot visual patterns, 166 cut choices, 285 camera head movement, 150 Picture in picture, definition, 286 definition, 9 definition, 143 Picture quality editor habits, 283 follow pan, 151 exposure and color control, 367 good techniques, 293 survey pan, 151 source'sync,368 montage, 291
shot duration, 292 shot order, 285 shot selection, 284 special effects, 286 techniques, 284 transition choices, 286 transition use scenarios, 288
Potentiometers, audio mixer, 257( 257
Pots audio mixer, 257 filtered sound, 261
POY; see Point-of-view (POV) camera
Power field checklist, BSt remote survey checklist, 64 single camera on location, 350 system checklist, 353t
P2 player/recorder, 272f Prefocus, production tasks, 140 Preliminary script
definition, 71 fully scripted shows, 75
Prerehearsal blocking, 329t drama production, 324 multicamera, checklist, 139t
Presentations, appropriate style, 341
Preset adjustments field checklist, BSt multicameras, 104 video engineering, 366
Pressure zone microphone (PZM), boundary mic, 251
Preview monitor control room, 33 definition, 27
Prime lens, characteristics, 105 Prime-time dramas, recording
methods, 336t Producer
production stage, 67 responsibilities, 19
Production assistant (PA), responsibilities, 20
Production crew hiring, 63 member responsibilities, 19 script's purpose, 72 size and types, 17
Production format styles multicamera prehearsal
checklist, 139 multicamera shoot, 136 overview, 134 rehearsal prep, 138 single-camera shoot, 135
Production manager, responsibilities, 21
Production meeting, during planning, 64
Production plan live event drama script, 80
script layout formats, 79 live event, fully scripted camera instructions, 75 camera script, 76 dialogue, 75 equipment, 75 full script, 76 initial script, 75 overview, 74 rehearsal script, 75 scenes, 74 shots, 75 sources, .75 switcher, 75 outline script, 74 production process, 56 andscriptwritin~91
Production practices appropriate visuals, 319 audience attention focusing,
313 axis of action line, 306 controlled action shooting,
301 cutaway shots, 321 decor variations, 306 distractions, 318 grouping changes, 305 illusion of time, 321 multicamera techniques, 304 overview, 304 pace, 317 performer movement, 304 pressures, 299 production practices, 300 program openings, 312 reaction shots, 321 recorded inserts, 321 segmented shootin~ 303 set-ups, 300 shooting styles, 300 single-camera techniques, 300 static subjects, 305 stock shots, 322 and story coverage, 308 subject treatment, 319 tension creation, 316 time lapses, 321 timin~ 318 uncontrolled action shooting,
300 viewing angle, 318 visual clarity, 318 visual interest shifts, 315 visual variety, 304
Production process after show, 141 camera operator, 139 factors, 28 lighting plan, 205 planning and preparation
stage, 52 budget, 55 camera plan, 62 complex, 62 coverage, 59
goals and objectives, 53 limitations/restrictions, 55 outline, 60 planned,58 production aspects, 63 production plan, 56 purpose, 53 regular studio formats, 61 rehearsal, 66 research, 60 schedule, 59 setup, 66 starting.concept, 53 storyboards, 63 target audience, 53 treatment breakdown, 62 unplanned, 57 postproduction stage, 69 production stage director duties, 67 interpretative technig..ues, 68 producer duties, 67 production emphasis, 67 and reality, 68 selective techniques, 68 selective tools, 67 stages, 51 techniques affecting camera
operator, 140 unplanned approach, 57
Production style audio, 344 audio/video relationships, 348 visual, 341
Production timing, cueing, 334 Professional equipment, as
category, 13 Professional talent, floor manager
guidance, 331 Program content, TV graphics, 178 Program interrupt, see Intercom
cues Program monitor, definition, 27 Program music, soundtrack
construction, 263 Program opening, types, 312 Program sound, see
Postproduction audio Progressive scanning
definition, 43, 267 HDTV,269
Prompting, talent, 334 Proportion, production stage, 68 Props, see Hand properties
(props) Prop storage space, definition, 35 Prosumer cameras, automatic iris,
119 Prosumerequipment
as category, 13 definition, 3
Public domain, and copyright, 265
Pulling focus, 144 Pull out, see Zoom out Push in, see Zoom in
393
---"--"---
INDEX
Q live transmission, 358 5 Quartz lamp, lighting, 195
multicamera, 354 Safe title area, graphics design,
shooting on location, 350 single camera on location, 350
179
R single-camera shooting, 352 Safety, remote survey checklist, 64
Radio frequencies (RF), wireless vs. studio production, 350 Scale
mics, 253 survey form sample, 358f picture frame, 168
Radio microphone, see Wireless vehicles, 357 production stage, 68
microphone Remote production facilities, Scanning, video signal, 44
RCU, see Remote control unit truck,35 Scene
(ReU) Remote production truck area lighting, 195
Reaction shots, uses, 321 characteristics, 357 fully scripted shows, 74
Real background, creation, 214 definition, 27 outline script, 74
Reality example, 37 Scenic cloths, pictorial
set considerations, 224 function, 35 background, 217
set creation, 226 production area, 36 Scenic design, TV production
Recce, see Remote survey (recce) Remote supervisor, overview, 9
Receivers, video viewing, 276 responsibilities, 24 Scenic designer, responsibilities,
Recordable DVD Remote survey (recce) 23
example, 274 checklist, 64 Schedule
video recording, 273 definition, 351 production planning, 59
Recorder, system checklist, 353t multicamera remote remote survey checklist, 64
Recording, see also Video production, 355 Scoop, function, 198
recording production planning, 64 Screen size, effect, 144
block and shoot, 338 sample form, 358f Script
floor manager, 330 Research abbreviations, 72t
ISO,338 production planning, 60 camera Script, 71, 76, 77t, 81
live on tape, 335 and scriptwriting, 85 draft script, 75, 83
media care, 273 Restrictions, production process, drama, 80
production methods, 334 55 multicamera shooting script,
retakes, 335 Retakes, production recording, 80t
shooting out of order, 338 335 outline Script, 71, 75
39 .... single-camera recording, 339 Reveillon, Jean, 5 and pace, 318
Reflected light Reverberation, audio, 262 preliminary script, 71, 75
in background, 221 Reverse action, definition, 286 as production treatment, 83
definition, 187 Reverse-angle shot, postproduction purpose, 72
measurement, 190 editing, 294 rehearsal Script, 71, 75, 80
Reflections, acoustics, 239, 240 Reverse cut shooting script, 80t
Reflectors multicamera shooting, 307 single-column, 79 function, 200 picture frame effect, 174 staging plan, 212 usage example, 202f RF, see Radio frequencies (RF) two-column, 79
Reflector spot, see Open-face RGB unscripted shooting, 300, adjustable light definition, 43 309
Regular formats, 61 video signal distribution, 45 writer's script, 71, 75 Rehearsal Rhetoric, production style, 344 Scriptwriting
director instructions, 327t Rim light, definition, 194 basics, 84 floor manager, 330 Romano, Ray, 19 considerations, 85 lighting plan, 207 Rosenthal, Phil, 19 draft script, 83 makeup practices, 231 Round sports, characteristics, 359 pacing, 81 preparation, 138 Routine methods production plan, 91 production planning, 66 straight makeup, 229 program questions, 84
Rehearsal script visual style, 342 storyboards, 86
1,
definition, 71 Rowe, Mike, 102 style, 82 details, 80 Rozas, Pedro, 357 visual storytelling, 81
II1 fully scripted shows, 75 Rule of thirds, picture frame, 167 writer's block, 83 I
Rehearse and record approach, Rundown sheet SDTV, see Standard definition production techniques, 141 definition, 71 (SD)
Reiner, Jeff, 341 production plan, 91 SECAM Relative speed, via dynamic Run-in.(head), postproduction definition, 43
composition, 171 editing, 294 as TV standard, 268 Remote control unit (RCD), Running order TV standard compatibility, 45
multicameras, 104 definition, 71 Security, remote survey checklist, Remote focus control, for fully scripted shows, 75, 78 64
focusing, 115 production plan, 91 Semipermanent sets Remote production Run-out (tail), postproduction dramatic set, 217
events, 349 editing, 294 set plan, 216
Senior audio technician (A-I) definition, 17 example, 24 responsibilities, 23
Sensitivity, microphones, 242 Sequential montage,
postproduction editing, 291
Sequential scanning, see Progressive scanning
Servicing studio plan, 213 video engineering, 364
Servo control, zoom lens, 111 SESAC, see Society of European
Stage Authors and Composers (SESAC)
Set building, 1V production overview, 9
Set components, types, 222 Set considerations
background alteration, 225 background improvements,
224 background rearrangement,
225 camera height, 223 creation realities, 226 depth creation, 223 foreground pieces, 223 partial settings, 225, 226 problems, 227 reality, 224
Set crew, responsibilities, 23 Set design
semipermanent sets, 216 for 16:9, 214
Set designer example, 24 responsibilities, 23 staging plan, 212 studio venue, 30
Set dressings set character, 222f as set components, 223
Set light, definition, 194 Set pieces, as set component, 222 Set plan, see also Floor plan
definition, 213 economical sets, 215 network television example,
220f outside/backlot, 219 pictorial background, 217 semipermanent sets, 216
Set storage space, definition, 35 Setup stage, production planning,
66 720p
definition, 43 HD recording, 269 1V standards, 46
Shade, video signal, 44 Shader, responsibilities, 22 Shading, video engineering, 365 Shadows, and exposure, 118
Shallow-focus techniques, shot selection, 149
Sheppard, Josh, 88 Shooting faults, examples, 175t Shooting order
definition, 71 fully scripted shows, 75
Shooting out of order, production recording, 338
Shooting script, two-column format,80t
Shooting styles effect, 143 examples, 300
Shooting techniques multicamera, see Multicamera
techniques single-camera, see Single
camera techniques unscripted shooting, 300, 309
Shot, general brief, 174 checking, 132 composition, 161 duration, 292 establishing, 175 fully scripted shows, 75 selection, 132 standard types, 131 zoom vs. dolly, 112
Shot arrangement objectives, 311 postproduction editing, 285 prerehearsal blocking, 327
Shotgun microphone and boom pole, 248f, 248 as camera mic, 245 characteristics, 247 example, 245f, 247, 248 usage, 248
Shot proportions, in composition, 161
Shot selection close-up, 147 deep-focus techniques, 149 extreme close-up, 147 extreme long shot, 146 long shot, 146 medium shot, 146 multicamera editing, 284 postproduction editing, 284 shallow-focus techniques, 149 shot types, 145
Shot sheet camera operator, 91£, 138 multicamera prerehearsal
checklist, 13 9t production plan, 91
Shot size, production stage, 68 Shoulder mount, camera
stabilization, 125 Show format
definition, 71 fully scripted shows, 78 production plan, 91 sample,74t
Shutter speed, selection, 122 Side light, definition, 194 Silence, audio style, 345 Simulated environments,
appropria{~ style, 341 Singers, regular studio
formats, 61 Single-camera format
audio, 356 automatic controls, 354 camera basics, 105 camera handling, 352 characteristics, 135 gear storage, 354 lens angle, 353 on-location production, 350 recording methods, 334 scripts, 79t studio productions, 339
Single-camera techniques controlled action shooting,
301 r
production practices, 300 segmented shooting, 303 set-ups, 300 uncontrolled action shooting,
300 Single-column format, scripts, 79 Sitcom
control room, 33 definition, 27 directing, 67f shot order, 285
Site survey, production planning, 64
16:9, set design for, 214 Sketches, remote survey checklist,
64 Skin-tone adjustment, straight
makeup, 229 Sky cam, operation, 129 Slate, postproduction logging,
283,284 Sloping horizons, shooting faults,
175t Slow build-up, as program
opening, 312 Slow motion, definition, 286 SM, see Stage manager (SM) Smart, Doug, 323 Society of European Stage Authors
and Composers (SESAC), 265
Soft focus, shooting faults, 175t Soft light, see also Flood light
creation and usage, 191 function, 198 multilamp sources, 199
Software graphics design, 182 pCAM,107 storyboarding, 87, 89
Sound control, 347 original as effects, 263 vs. video, 292
395
Sound-boom positions, lighting design considerations, 213 Studio plan plan, 205 neutral background, 215 chroma-key, 218
Sound-boom shadows, lighting real/unreal backgrounds, 214 cyclorama, 218 plan, 208 16:9 set design, 214 definition, 211
Sound editing, anticipation, 261, Standard definition (SD) location as background, 219 264 compatibility, 45 matting, 218
Sound effects definition, 267 staging organization, 213 program sound, 263 flash memory, 272 virtual sets, 219 soundtrack construction, 263 graphics design, 179 Studio production
Sound mixer, rehearsal recording, 268 advance rehearsals, 324 instructions, 327t Standard set unit, as set block and shoot, 338
Sound sampling, sound effects, component, 222 cueing, 332 263 Standby shots, recording floor manager, 330
Sound style productions, 339 ISO,338 combinations, 347 Star filters, characteristics, 120 live on tape, 335 elements, 345 Static subjects, shooting, 305 recording methods, 336t emphasis, 345 Stationary camera, characteristics, vs. remote production, 350 imaginative, 344 99 retakes, 335 off-screen sound, 346 Steadicam system, camera shooting out of order, 338 purposes, 346 stabilization, 125 single-camera recording, 339 selective sound, 348 Stereo sound unrehearsed formats, 323 substituted sound, 347 characteristics, 241 Studio rehearsal
Sound supervisor, responsibilities, definition, 238 effective, 325t 23 Stick mic, see Handheld overview, 324
Soundtrack microphone Studio supervisor, responsibilities, audio sweetening, 264 Stock shots 24 construction, 262 for abstract ideas, 320 Stumble-through, see Camera copyright, 265 visual clarity, 323 blocking program music, 263 Stopping run, rehearsal Style program sound, 262 procedures, 328 scriptwriting, 82,86 scriptwriting, 82 Stop and start approach, TV graphics, 177 sound editing anticipation, production techniques, 141 Subheadings, program outline, 60
396 264 Storage Subject sound effects, 263 camera gear, 354 and camera height, 152
Spares, system checklist, 353t studio plan, 213 confusing treatment, 319 Special effects Storage space, definition, 35 deep-focus techniques, 149
control room, 34 Storyboards framing prominence, 168 designer responsibilities, 24 action analysis, 90 impressions of, 170 examples, 286 definition, 51 lamp setting, 206 program sound, 263 example, 88, 89, 89f lighting plan, 205
Speciality cameras, examples, 101 production planning, 63 pictorial balance, 165 Speed, dynamic composition, scriptwriting,86 production stage, 68
171,172 via software, 89 routine treatment, 342 Split screen, wipe, 289 Story coverage, multicamera andscriptwritin~85
Sports event shooting, 308 shallow-focus techniques, 149 coverage preparation, 357 Storytelling, visual, see Visual shooting faults, 175t horizontal, 359 storytelling and shooting style, 143 live transmission, 358 Straight makeup shot checking, 133 production methods, 28 definition, 229 static, shooting, 305 production plan, 57f purpose, 229 Subtitles round action, 359 Streaming video, target audience, definition, 177 vertical, 359 54 graphics types, 179
Spotlights Strength, via dynamic Super cardioid microphone definition, 187 composition, 172 advantages,244f fresnel, 200 Strip light, characteristics, 199 definition, 238 lighting, 193 Strobe, definition, 286 example, 244f
Spotted Eagle, Douglas, 247 Studio, see also Television studio Superimposition, transition Stabilizers, cameras, 125 definition, 27 choices, 286 Stage crew, responsibilities, 23 regular formats, 61 Supplementary lens, Stage manager (SM), Studio camera characteristics, 110
responsiblities, 21 characteristics, 99 Support systems, camera Stage props function, 99 field checklist, BSt
definition, 211 Studio ceiling supports, function, multicamera prerehearsal as set component, 222 202 checklist, 139t
Staging plan, see also Floor plan Studio engineer, responsibilities, SteadicamjGlidecam, 125 basic organization, 212 24 types, 122
-
Surfaces, acoustics, 239 Surprise welcome, as program
opening, 312 Surroundings, lighting plan, 205 Surround sound
audio mixer, 258f characteristics, 241 definition, 238
Surround-sound microphone characteristics, 251 example, 251f, 252 usage, 252
Survey pan, camera head movement, 151
Swish, see Whip pan Switcher (Vision mixer)
audio mixer, 257 chroma-key, 38 definition, 3, 27 DVE,40 editing mechanics, 279 examples, 9, 40 fully scripted shows, 75, 78 live editing, 9 responsiblities, 21 script abbreviations, 72t signal sources, 33 transition types, 38 video recording, 8 virtual set synchronization, 40 wipe, 38
Symbolism definition, 159 shot composition, 161
Synchronization switcher, 40 video sources, 368
Synopsis
T
definition, 71 production plan, 91
Tail (run-out), postproduction editing, 294
Take definition, 277 faulty, 175 as transition, 38
Talent camera operator tasks, 140 floor manager guidance, 331 movement and attention, 315f and platform, 222 prerehearsal blocking, 329t production process, 63 prompting, 334 regular studio formats, 61 sitting down shots, 310f straight makeup, 229 types, 25 unrehearsed formats, 323 voiceover example, 282f
Talk shows, production methods, 28
Tally light cue method, 332
definition, 131 viewfinder, 140f
Tape formats D-9,271 DigiBeta,271 Digital 8/Hi8, 271 DVCPro25/50, 272 DVCProHD,272 HDV/MiniD\T, 271 MiniD\T, 271 VHS,271 VHS-C,271 video recording, 270
Tape operator, responsibilities, 24
Target audience, production process, 53
Taylor, Jennie, 98 TBC, see Time-base corrector
(TBC) TD, see Technical director (TD) Team roster, production plan, 91 Teaser
definition, 299 as program opening, 312
Technical coordinator, responsibilities, 24
Technical director (TD) control room, 34 definition, 17 responsiblities, 21
Technical manager, responsibilities, 24
Technical storage, definition, 35 Telephoto lens
characteristics, 110t definition, 95 lens angle, 107 vs. wide-angle, 150t
Teleprompter definition, 3, 323 multi camera prerehearsal
checklist, 139t and performance, 7 talent prompting, 334
Television graphics animated, 179 backgrounds, 181 creation tips, 178 designing, 179 equipment, 182 forms, 179 goals, 177 interactive 3D, 179 types, 178
Television monitors pictorial background, 217 video viewing, 276
Television networks, function, 11 Television picture
detail,46 quality,46 tones, 46
Television production facility portable flypack control
rooms, 37
production methods, 28 production switcher, 38 remote, 35 studio, 30 studio in action, 30 studio control room, 33 venue, 30
Television production overview audience impact, 11 cameras, 7 current equipment, 13 director techniques, 5 editing forms, 9 equipment improvements, 12 equipment simplification, 4 hidden factors, 14 image sources, 8 industry competitiveness,S lighting, 9 makeup and costume, 9 organ~zation basics, ~ planmng and performance, 7 postproduction audio, 10 production team, 13 program sound, 9 sets and scenic design, 9 shooting action, 7 sublety,5 TV definition, 11 TV vs. new media,S video recording, 8
Television receivers, video viewing, 276
Television standards, types, 268 Television stations, function, 11 Television studio
in action, 31 control room, 33 services and support areas, 35 as venue, 30
1080i definition, 43 HD recording, 269 TV standards, 46
1080p definition, 43 HD recording, 269 TV standards, 46
Tension creation, 316 shot duration, 292
Test equipment, video engineering, 365
Thorpe, Larry, 105 3D cameras, types, 101 3D televisions, 276f Three-point lighting
creation and usage, 193 definition, 187
3/4 back light, definition, 194 Tighten, see Zoom in Tilt
camera head, 152 camera treatment selection,
139t definition, 143
397
398
Tilt head camera stabilizers, 125 parts,126f
Time-base corrector (TBe) definition, 363 video signal sync, 368
Timecode, postproduction logging, 283
Time lapse definition, 286 indication, 321
Timeline definition, 277 nonlinear editing, 281
Timing cueing, 338 prerehearsal blocking, 329t types, 317
Today, 230f Tompkins, AI, 178 Tones
background improvements, 224 and exposure, 118 TV picture, 46 visual clarity, 318
The Tonight Show with Jay Leno, 336t Tool checklist, 353t Top light, definition, 194 Track, camera treatment selection,
l39t Track laying, see Audio sweetening Transitions
choosing, 286 time lapse indication, 321 types, 38
Transmission, floor manager, 330 Treatment
breakdown, 62 definition, 341 framework building, 58 and pace, 318 routine methods, 342 script developments, 83 sound control, 347
Trial and error approach, focal length decisions, 107
Triangle lighting, see Three-point lighting
Trim, nonlinear editing, 281 Tripods
as camera mount, 126 dolly, 127
Truck camera treatment selection, l39t remote production, 27, 35, 36,
37f,357 Tungsten-halogen lamp, see
Quartz lamp Tungsten lamp, lighting, 195 Two and a Half Men, 336t Two-column format, scripts, 79, 80t
U Ultra high-definition television,
specs, 269 Unity, picture frame, 166
Unobtrusive, camea techniques, 69 Unplanned production approach,
overview, 57 Unreal background, creation, 214 Unrehearsed formats
characteristics, 325t studio production, 323
Unscripted shooting camera angles, 309 shooting styles, 300
Utility staff example, 25 responsibilities, 24
DV filters, characteristics, 121
V Vectorscope
definition, 363 video engineering, 365
Vehicles OB van, 27, 357 remote production, 27, 35, 36,
37£ 357 Venue
conditions, 30 control room, 33 flypacks, 37 remote production facilities,
35 remote truck, 35 services and support areas, 35 studio in action, 31 television studio, 30
Verna, Tony, 349 Vertical movements, definition, 41 Vertical sports, characteristics, 359 Very long shot (VLS)
example, 132 postproduction editing, 294
VHS, video recording, 27l VHS-C, video recording, 27l Video
audio relationship, 348 compression, 145 definition, 11 vs. sound, 292
Video cameras, see Camera basics Video engineer
maintenance, 364 responsibilities, 22 test equipment, 365
Video engineering . exposure and color control,
367 source sync, 368 vision control, 365
Video gain adjustment, 121 definition, 363 video operator, 367
Videographer, responsibilities, 22 Video operator
control room, 34 multicamera production, 104 responsibilities, 22 terminology, 367
Video recording analog and digital, 270 D-9,27l DigiBeta, 27l digitaI8/Hi8,27l DVCProHD,272 DVCPro25/50 tape, 272 external camera hard drives, 273 flash memory, 272 hard drive recorders, 273 HDD,273 HDTV,268 HDV/MiniDV,27l media care, 273 MiniDV, 27l overview, 267 recordable DVD, 273 SDTV,268 tape formats, 270 tips, 275 TV production overview, 8 videotape, 270 XD cam disc, 273
Video signal distribution, 45 overview, 44 standard compatibility, 45
Videotape, recording, 270 Video tape recorder (VTR)
operator example, 25 responsibilities, 24
Video technician, responsibilities, 22
Video viewing color camera, 276 color detection, 275 monitors and receivers, 276 screen types, 275
Viewfinder ENG, l36f field checklist, l35t focal length decisions, 107 multicamera prerehearsal
checklist, l3 9t shot checking, l33 tally light, 140f
Viewing angle, and visual clarity, 318
Virtual set background creation, 215 characteristics, 219 definition, 211 synchronized movements, 40
Vision control responsibilities, 22 video engineering, 365
Vision mixer (Switcher) audio mixer, 257 chroma-key, 38 definition, 3, 27 DYE,40 editing mechanics, 279 examples, 9, 40 fully scripted shows, 75, 78 live editing, 9
responsibilities, 21 script abbreviations, 72t signal sources, 33 transition types, 38 video recording, 8 virtual set synchronization, 40 wipe, 38
Visual clarity appropriate visuals, 319 cutaway shots, 321 distractions, 318 flashbacks, 321 illusion of time, 321 reaction shots, 321 recorded inserts, 321 solutions, 320 stock shots, 323 subject treatment, 319 time lapses, 321 viewing angle, 318
Visual interest, shifting, 315 Visual patterns, picture frame, 166 Visual storytelling
definition, 17 importance, 19 scriptwriting, 81, 85
Visual style ambience, 342 appropriateness, 341 "illusion of truth," 343 pictorial function, 343 picture applications, 343 rhetoric, 344 routine methods, 342
V-light, see Broad light Voice, audio style, 345 Voiceover (VO)
nonlinear editing, 282f program sound, 263 talent, 282f
VTR operator, see Video tape recorder (VIR) operator
VU meter, audio control, 256£ 256
W Walkthrough, see Dry blocking Wardrobe, see Costume Waveform monitor
definition, 363 video engineering, 367
Welles, Orson, 143 West, Mark, 277 Whip pan, camera head
movement, 152 White balance
definition, 363 video operator, 367
Whole method, rehearsal procedures, 329
Wide-angle lens camera handling, 110 characteristics, 110t definition, 95 and depth of field, 134 distortion, 108 lens angle, 108 vs. telephoto, 150t
Widen, see Zoom out Wide shot (WS), example, 132 Wild track
definition, 238 postproduction editing, 294 sound editing anticipation,
264 Wilson, Adam, 363 Windjammer, shotgun mic, 247 Wind muffler, shotgun mic, 247 Windshield
shotgun mic, 247 types, 248f
Wipe characteristics, 38 definition, 277 example, 287 time lapse indication, 321 as transition, 38 transition choices, 286 transition use scenarios, 289
Wireless microphone characteristics, 253 example, 9, 254f
Word cues, method, 332 Wrist support system, 123f Writer, responsibilities, 25 Writer's block, scriptwriting, 83 Writer's script
definition, 71 fully scripted shows, 75
x X axis, movements, 41 XCU, see Extreme close-up
(ECUjXCU) XD cam disc
example, 275f video recording, 273
The X-Files, 223 X Games, 250 XLS, see Extreme long shot
(ELSjXLS)
y Yaxis, movements, 41 The Young .& the Restless, 336t
z Z axis, movements, 41 Zebra ,/'
definition, 187 function, 190
Zip, see Whip pan Zoom in
and background crowd, 225
camera operator tasks, 140 definition, 157
Zooming camera movement, 156 shooting faults, 175t
Zoom lens advantages, 112 back focus, 116 characteristics, 105, 111 control, 106, 111 disadvantages, 112 vs. dolly shot, 112 extender, 114 focusing, 116 handling, 112 multicamera prerehearsal
checklist, 139t Zoom out
camera operator tasks, 140 definition, 157
